BY JENNIFER M. CONTINO, December 02, 2004
At Wizard World Texas it was announced that fan favorite team Brian Michael Bendis and Alex Maleev would be leaving Daredevil in December of 2005. Maleev told us "we cant go on forever," when asked why he wanted to end his run on the series, but then also teased "Oh and we have other plans." Although we have few details of the other plans, Maleev did give us some details about his current works and Marvel gave us pages from Daredevil # 67 and # 68.
Maleev agreed nothing could go on forever and cited that as one of the reasons to end his work on Daredevil. He also said he was anxious to try something new, fresh, screw with somebody elses identity perhaps."
"Im not bored, nor do I think were running with no gas in the tank," said Maleev of his current work with Ol horn head. "I think some of the best things are coming up, but who am I to say? I certainly am having more fun than ever - especially with the current Golden Age arc where we use different styles of art for each time period. The look you see with the moiré and the off register color are Dave Stewart's idea. His unique coloring technique is the best compliment Brian and I have had on this book. The art work for the period sequences is drawn old school, brush and ink."
Read the full interview at Comicon.com
Kuljit Mithra, ManWithoutFear.com, September 29, 2004 (For the 40th Anniversary issue)
Read more DD creators' answer to this question here.
Q: What did it mean to you personally and professionally to work on Daredevil?
A: I'm honored to work on the title with such great talent and history as much as I am honored being part of the team that brings the book to stands currently. To all who have contribute to the character and to all who work with me and help me, I'd like to use the anniversary as an opportunity and gratefully say: "Thank you!"
Interview by THE PULSE, April 16, 2003
THE PULSE: How do you think growing up in Bulgaria affected the way you view the world and the way you create your artwork?
MALEEV: It kept me away from the comics in general, I grew up chasing a football or rather keeping away from goal and a comic book in somebody's hands was a rarity. I didn't get familiar with mainstream comics until seven years ago.
It might have helped me stay away from the average super hero style and maintain certain edge to my work. .
THE PULSE: What was the comics scene like in Bulgaria when you were a child? Which comics were popular? Which did you collect?
MALEEV: Only this French "freedom" magazine called "PIF". Only thing I could get my hands at with the exception of few books I stole from friends whose parents lived in abroad or traveled .
THE PULSE: Were there a lot of superhero comics or was another genre the dominant "home" comics style? Which genres of comics interested you the most as a reader?
MALEEV: Erotic.
THE PULSE: When you began to create .. which genre of comics interested you the most as a creator? Why?
MALEEV: Same as above.
THE PULSE: Who are some of your artistic influences outside the realm of comics? Which painters do you like? What art period is a favorite?
MALEEV: My favorite would be Rembrandt. His etchings had deep impact on before I applied at the Academy of Arts in Sofia, I knew I wanted to dip my hands in some etching inks and roll the press. I have fallen for the Little Duchmen occasionally. From the top of my head I would mention Bruegel.
THE PULSE: How challenging is it to develop an unique artistic style? How hard is it to be unique yet recognizable when working on iconic characters?
MALEEV: Ones style is like a melting pot, if you are a good cook you know which ingredients to stir up. The signature line becomes a style when somebody imitates it. I don't think I have become a chef yet. Little more Brunovski and a touch of Anderle would get me there I hope.
The " iconic characters" just happened to be victims of my search for my" style".
THE PULSE: Most artists consider their work an evolution or work in progress. How are you changing with each new project? How do you try to evolve with every assignment?
MALEEV: I wasn't sure what to do with Daredevil now, I am not sure what the next thing a lay my hands on would look like either. I think the change comes from constant work in search of finding the short cut. Drive to simplicity is perhaps natural and it comes to hit you in the back of your head once in a while.
I look at Mignola's work and every new book he does continue to leave me in awe. He becomes simpler but it tells just enough without to satisfy the capricious eye.
THE PULSE: What challenges you as a creator? What keeps you wanting to work on comics as opposed to other expressions of art?
MALEEV: My deadlines.
THE PULSE: You've worked on superheroes and supernatural type characters. Which do you prefer?
MALEEV: Down to earth people, somebody you'd rather see in the gutter laying next to you at five in the morning rather then blowing capes.
THE PULSE: With each new assignment are you looking for the polar opposite of the previous one or do you like to work on similar projects? Why?
MALEEV: I don't have the opportunity to choose from tons of projects, work finds me more nowadays then I find it. It dictates my direction. I would prefer to pinch from more plates then one though.
THE PULSE: How is creating the art for Daredevil different from Sam and Twitch or your other works?
MALEEV: It brought the existence of a Mac at my house, which took over me about year and a half ago and now I bring him the sleeper and morning newspaper every day.
THE PULSE: Your coverwork has an almost photo quality to it mixed with different mediums. How do you achieve the look of each cover? With each new issue are you pushing the limits and boundaries you set on previous ones? How important is it for you as a creator to have a striking cover?
MALEEV: Very. It is the gate to the interiors, and it has to be the finest piece of the whole book. All covers come with different message and influences the approach. In my case though the overwhelming feeling of staggering thoughtlessness is my best escape. The moments when the hope is the last thing to die you reach for that last penny in the pocket and boom there it is! There's always that good idea that comes like unwanted period. You know it's there, poking it's head around the corner.
THE PULSE: Which is the greater challenge, illustrating the interiors or coming up with the perfect representation for the cover? Can you have a great looking interiors with a mediocre cover or stunning cover and disappointing insides?
MALEEV: I've seen a lot of the second, perfect balance is golden formula.
THE PULSE: In our interview with Brian Michael Bendis he mentioned the return of Typhoid Mary. How familiar were you with this character? When you were drawing Mary, what influenced your rendition of this classic character?
MALEEV: I found my friend Mary and took pictures of her while she was kicking ass.
THE PULSE: Matt Murdock may be "blind," but his heightened senses more than make up for it and allow him to be a hero. As an artist, do you feel as if you have a heightened sense and power in your artwork? Which if any of your other senses do you feel are lacking due to your strong talent for design and presentation?
MALEEV: I think I lack the strong talent for design and presentation because of time limitations.
THE PULSE: If you could only use one tool, besides the paper, to create, which one would you choose? Why?
MALEEV: Nature, it's the best artist, using it's tools make up for half of the creativity.
THE PULSE: A lot of artists have a "soundtrack" they listen to when creating. Do you like to listen to music as a background for your work? If so, what music inspires you while creating Daredevil? If not, do you like to work in silence? Why?
MALEEV: Lately internet radio, jazz and electronic stations. I have learned my cd library by hard.
THE PULSE: How long do you see yourself working on Daredevil? Do you get bored after a set number of issues or do you like to stay on projects long time? Why?
MALEEV: It's the best job I have had in a long time, maybe second best next to my ski school teaching years. Yeah, I'll stick around for a while.
THE PULSE: If you weren't currently working on comics and had no artistic skills, what type of job do you think you might have?
MALEEV: Something in the movies, adult film star, he he. Or own a bar.
THE PULSE: What historical art-movement do you think comics could benefit most from studying and incorporating some aspects of into current styles?
MALEEV: Live drawing. The mother of all.
THE PULSE: In your opinion, how much should a computer be a tool when creating comics, and how much should it be a complete look?
MALEEV: Whether a computer or a shoe shine, it should be natural extension of the thought. I draw with a brush as well it only shows it's on a screen as opposed to paper.
THE PULSE: What underused techniques are you going to introduce into your art style for Daredevil that will set your art apart from all the other titles on the shelf?
MALEEV: I honestly don't have a clue.
THE PULSE: What is a project - in comics or out - you would like to have a shot at creating? Why?
MALEEV: Something urban, something dark and horror. And light on censorship site.
THE PULSE: What other projects are you working on?
MALEEV: A shot of Hellboy.